Authors Note: I feel this is my most poor episode so far, and I would be grateful for your opinion on it also. If you have any suggestions to make it more interesting or compelling, I'm all ears. I am looking for this sort of feedback in paricular rather than just plain nitpicks. So if you insist on pointing out all my typos, I would appriciate it if you included some of the mentioned above also.
Episode Six: Rain of Fire
It is not until now that I see June again in person after the day that I had met him. Kaho had actively been relaying messages from him to me over the time frame. At first I had wondered why she and June had been in contact so often, however it was insignificant to me. I do not care. Today I find myself back at the place where my life had begun. It has been one week since I died.
I have met a woman named Hikari. She had spent the evening at my house and had been the one who bought me back here this day. She seems a little older than myself and has hair so long it reaches to her waist. Her voice is very sweet and child-like. I recognize it as the one that had called out to me a week ago.
The house in which we are at belongs to an older woman who teaches us how to speak English. She holds an open lesson to anyone of any age group for a fee. The moment I spot June present in the class I beeline to choose a chair on the exact opposite side of the room. His eyes follow me, carving into my back. I pull Hikari along with me; I still do not want to be alone. She looks over her shoulder back to June.
“Oh, are you having a fight with that friend?”
“He’s not my friend,” is my reply.
“Perhaps we should have sit with your friend. He looked sad this whole lesson.” She says. I decide not to answer her statement. The duration of the class I struggle to comprehend what is going on. I find myself able to understand most of the language, but have no clue how to address the exercises we have been assigned. The instructor tends to go off on long tangents in discussion of fast speaking English with June, who seems to speak it completely fluently. At one stage I overhear my name mentioned between them, and try hard not to glance back toward them, instead staring hard into the decorative wall mirror above a ceremonial cabinet.
Looking at myself feels strange. I haven’t not seen myself before; there are mirrors in my own home, but apart from a brief intrigue I had not bothered to consider it closely. I have messy black hair and dark eyes, just the same as everyone else. If anything I look slightly sickly, my cheeks hollow and un-rounded, my shoulders poking through my clothes. I can also see Hikari in the mirror. She is laughing to the person opposite her as they each take turns trying to pronounce an unusual word, ‘de-ri-shi-o-sh-’.
She is pretty. Her face is round with a softly curved chin. I am still yet to truly know who she is to myself or my family, but I can’t help but hope she is someone close to me.
~
Hikari accompanies me on the route home. She takes her step slowly, her hands tucked gently in front of her. Occasionally with the breeze her dress billows outward below her knees. Her eyes follow the pebbles and stone rather than the skyline or the surroundings. She seems so absent minded that I take her firmly by the wrist to lead her. I assume we are going to my house, so that is where I take her.
We are about halfway when she speaks softly, her voice washing away.
“No... I... I thought talking of it would ease the pain but I decided I do not want to any more.” I take in her words, of course unaware of the context, but I remain calm and patient. I will soon find out what she means.
“Talk about what?” I ask gently.
“Yes...” she starts before continuing, her voice growing as she passionately let go of the words on her tongue. “It made me think of Masaki. Do you think that is how he felt? I thought I was about to join him for a moment. it was so close, far more than the previous raids. When the ground shook it could only make my heart leap out of their moth, almost as if I was going to be sick.”
“Masaki?” I question, wondering who this person could be.
“I know you haven’t been well recently, and I know that half of what I ever say seems to go straight through your head, but I feel like you of all people will understand.”
I know that my responses are hollow. Every time I reply it is as if I can not be heard, since my words never get an answer, however as this conversation had progressed my words had backwardly evoked new explanations. I had to try asking at least, even though I was feeling frustrated now.
“Wait, please explain to me. What do you mean?”
“I know it is unsettling to speak of, but the bomb drop on Thursday really shook me up.” is her reply.
I do not say anything more and neither does she. Her conversation is complete while I am trying to get my head around the information I have received. If what she says is true it means there is going to be a bombing in five days. My stomach fills with dread. I was born from the shrapnel of destruction. Would this kill me?
But it can’t.
I can’t die because I have to die next week, on the 19th. Nothing to fear. My inner voice is an attempted consolation but it doesn’t work very well. I look to Hikari and she looks back, smiling.
“Masaki always liked that song” she says before doing something completely unexpected.
She begins to sing; a sad and pretty song which is only enhanced by her beautiful voice. I listen then when she is done ask her to sing it again. She sings again but fades off at the end, falling into a hum.
~
Hikari had been correct about the seventh. I relive a nightmare as my family huddles in the bomb shelter. I had seen the structures around previously and wondered what they were. Now I know.
We are lucky; our shelter has been constructed from stone and brick, and is sufficiently deep. Most people have nothing but wood and dirt protecting them.When we emerge the streets miraculously seem cleaner; the air is less dusted.
Kaho, in all her delinquency, had once again skipped school. Her blames lay on me, claiming that I have told her about bombs on the 7th, and that I had an uncanny reputation for predicting the future. In her time she will have been correct to believe me, as that future would have inevitably come true.
~
I swear it is her suggestion that we go to June’s place, as she talks about it the whole time we walk there. We go hand in hand at my own request. She thinks that I am being strange; she can’t understand what I am shaken up about. I know that the bombs are now behind me, but it feels good to have your safety placed in the palm on another. Having Kaho to hold onto calms me. Even though I am physically older, to me Kaho is more mature, and is more like an elder sister than a younger one. I think she understands this; out of everyone in the world she makes me feel the safest.
~
The distance to June’s place seems considerably smaller compared to the time I had so desperately fled. That night I had wandered in the dark until evening, relying on my instincts to eventually guide me home. From what I have seen, walking seems to be quite a proficient way for citizens to get around. Automobiles, though not as much as before, are few on the routes we take, which could be attributed to the damage of several roads.
When we arrive June is waiting for us at the top of the drive. He nods at me.
“And Akira,” he says in a flat tone. His attention moves to Kaho, he picks up one of her hands in his and presses his lips against the back of her palm, the kiss lingering on her skin for quite some time. He then takes her other hand and performs a similar peck on her cheek.
“Stay safe Kaho” He tells her softly. I watch them with incertitude, the way that touch each other makes me feel uncomfortable and unfamiliar. With one hand they grip tightly but the other hold resembles more of a hover, June arching his fingers backward while Kaho seems ready to pull away. She should pull away, I silently urge. I do not like June touching Kaho; she is younger, kinder. He should keep away.
My gaze, in attempt not to be caught scowling at their interaction, moves to the front porch of the house. The man who is June’s father sits there, leaning back in a woven wick chair, a cloud of smoke building up from the cigar he hungrily bites at. He is watching us. It makes me feel even more uncomfortable.
Points:
Time spent:
Canary word: Present
Possible AI signals:
Original Text:
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Hi there Blackwood! Sorry I can't offer a harsher review, but this is really very good.
This is a really awkward sentence. Perhaps "Today was the first day I had seen June in person since the day I met him."
Okay, so I had a couple points and quibbles, but some re-reading cleared those up pretty well. I am a bit confused about one thing: How far away is June's place exactly? He went there by train before, but now it seems like he's pretty close. This seems even stranger when you consider the messed-up infrastructure that you mention here. Speaking of which...
Another case of weird wording. "Not as much" and "are few" mean the same thing. Plus...what are we referring to as "before"? It seems like in Akira's past (the future) there would still be fewer cars (unless Shizouka managed to repair itself in 12 days).
Plus, we're now past the June 7 bombing, correct? Wouldn't there be more cars and such compared to after the bombing?
I think it'd be best to circumvent this by simply saying "Automobiles are few on the roads..."
I'm also intrigued at how he apparently shared "future" knowledge with Kaho. Up to this point, I assumed he had lived normally for twenty-one years, then died, then started moving backwards, so he wouldn't be able to share information about the future. Now I'm not sure at all, so I guess I'll keep reading.
Hmm, no it was far away from the train-station to Junes place. June wasn't coming from his house from the train station, he was coming from Tokyo or where ever he went as mentioned in the first letter from June. The distance from Akira to Junes place is closer than either of their places to the station.
Hmmm, as for the cars I'm trying to go back to when I was thinking about it.
When I say that its just before the 7th bombing, so no-ones leaving. However 'before' was just before the 19th bombing, so more people would be active because it's imminent /before/ the destruction.
I think that was a weird little detail to add anyway, it would probably be better off the way you put it.
I really like your writing style!
Timmyjake here to give you another review!
I followed your advice and read another one.
I love how your character feels everything so deeply. How you tell your reader how other characters are feeling, without drawing away from your main character. You past and present tenses are better here, too.
Now I know this might go along the lines of what you told me before,(read the others!!) but is this in Japan?
I really like the names you give your characters. So much ingenuity and originality in them. Love them!!!
Also, how you describe your character is wonderful. Where he goes, how her skirt moves with the wind. What she looks like. How she sings. It really brings the reader into your story.
Keep writing!!
Yes, it is set in 1945 Japan.
Historical novel, then!
I heard someone was looking for harsh reviews?
To be honest, it is very difficult to give a 'harsh' review, because this series has been brilliant so far. But, for what it's worth, I'll endeavor to give you something or another to think about! There were some things I wanted to say about the previous episodes, but for now I'm going to review this episode and the series as a whole. Also I won't do any nitpicking because I'm sure you can pick up on the tiny details yourself. So, without further ado...
This series is reminiscent of stories such as 'The Curious Case of Benjamin Button' by Scott Fitzgerald and 'Slaughterhouse Five' by Kurt Vonnegut, the latter being one of my favourite novels, and I would recommend it if you haven't read it before. Like Slaughterhouse Five, your story seems to be deeply concerned with free will. At least, it certainly ought to be, but I do wonder whether you've really taken this issue to its logical conclusion in this series? A lot of questions come to mind. Should the main character have any power over his actions, or should he be passive, observing his body moving backwards through time? If the latter is true, surely he cannot voice his questions about his 'future'? In dialogue, shouldn't he speak first then understand why he spoke (or 'decide what to say') upon hearing the 'response'?
For me, the most interesting thing about showing time going backwards is that cause follows effect, and all actions become their opposites - eating becomes regurgitation, excretion becomes eating, falling in love become falling out of love, breaking up becomes proposing a relationship, bombs give birth and mothers swallow their babies, and so on. To some extent you have done this (I mentioned 'bombs giving birth' because that's how the character was born), but you could do so more, and you could be more detailed. How about a scene showing the character's experience of regurgitating his digested food, re-assembling it in his mouth and placing it back on his plate? It might not be very relevant to the plot, but it will be a nice touch.
I also wonder whether the character's memory is working correctly. What I mean is, shouldn't the character be remembering things about his future (the past) and forgetting about his past (the future)? This would be the most logical way to present this character. Having said that, once or twice you have used his strange condition as a way for other characters to perceive him as clairvoyant - "Her blames lay on me, claiming that I have told her about bombs on the 7th, and that I had an uncanny reputation for predicting the future - and I really like this. Perhaps, though, the character could still have faint memories of his future? Perhaps he has amnesia, having been shocked by a bomb or been knocked on the head by flying shrapnel (or both), but occasionally catches glimpses in his 'natural' memories of what is to come? This could give an interesting way to wrap the story up, as a piece of rubble delivers a sudden flood of memories about his life to come (doing his whole life at your current pace might be a bit laborious).
Going back to cause followed by effect (I'm rather fixated on this), now that the character has experienced his first bombing (since his birth), isn't it about time he receives a rather warped vision of war? There's a magnificent scene in 'Slaughterhouse Five' where a bombing is described backwards: the fires of an explosion are sucked inwards into metal containers, which fly upwards into planes which carry them safely away from the reconstructed city. Although you've made it obvious that this is set during war (I'm guessing the second world war) and that the city is being bombed, you could perhaps show the city being largely in ruins nearer the beginning of the series and gradually being re-built by the bombs.
There's so much going on here, it's very difficult to go over everything! But there's one more point I want to discuss, then I'll finish (for now). Character introductions...you've done these very well, having their reputations always precede them. However I think you should definitely use these as a way to elaborate on the protagonist's strange perception of death. Will there be a funeral at some point? You've hinted that Masaki has been killed. I wonder whether you plan to show his funeral before having him rise from the grave and have life restored to him by a bomb (now I'm starting to get quite obsessed by the idea of bombs acting as agents of creation)? By the way this episode was written, it seems the protagonist might not actually witness Masaki's death/birth (it certainly isn't very clear), but I think it would be much more interesting to have him see it happen.
That's all for now. I know I haven't really been very 'harsh' (I want to apologise for that, but it seems crazy to do so), nevertheless you can rest assured, I'm not entirely satisfied with this series so far. I would advise you to go over the entire thing again, at some point, if you have the time (perhaps after finishing it). Not because it's awful, but because it all has too much potential to be left in its current stat!. I'll try to do some more specific reviews for the previous episodes (and any more to come). I realize I haven't actually said much about this episode in particular, but I felt this would be a good place to review the entirety of the series so far.
What an amazing review buddy! You are great.
Since you had alot of questions I thought I'd answer some. (it's too bad I haven't posted episode 7 yet because you would be very intrigued by it as it answers a ton of stuff)
firstly I'm treating him living backwards as an individual life so he won't have memories of the 'future' except I'm hoping to raise the question thought on if he is following through a destined path or whether his future actions affect his own path.
Secondly the uneating on the food was an interesting point you made and I have thought about it and decided not to mention it on these basis.
1. Going backwards is the 'norm' for him, so food being formed at his lips isn't exceptional, it's just normal.
2. Authors almost always leave out repulsive mundane life stuff, for example you never read about your character using the toilet on a regular basis and eating is only described if it's relevant to an important scene for example dinner scenes or developing a character.
You are very good at questioning the future of my story and much of your questions and pedictions will be answered or fufilled in future chapters. I should be putting 7 out tommorow or today as it has already been written so you in particular might like to take a look.
Fair points. Not sure I'd agree authors always leave out 'mundane' things, but I guess it does take a certain kind of author to include the repulsive stuff, as well as a certain kind of reader to enjoy it! I look forward to reading more.
I said almost always